Since its inception in a riverside warehouse on Jiak Kim Street, Zouk has been the epicentre of Singapore’s nightlife. Founded by Lincoln Cheng, the 35,000-square foot club thrived in an ever-evolving industry. Its success can be attributed to key figures like general manager Benny Heng, marketing manager Tracy Phillips, and later Sofie Chandra.
Also instrumental to Zouk’s legacy was Wayne Lee, who oversaw music and entertainment. Today, Lee is the general manager of HighHouse and NOVA, two dining concepts under OUE Restaurants. On a cloudy afternoon, we talk with Lee at HighHouse.
ESQUIRE: How is HighHouse different from Zouk?
WAYNE LEE: There’s the dining element, which is quite a big thing and that extends to the rooftop when we open up in July. The whole venue is OUE Sky: there’s HighHouse and NOVA—two concepts in one venue. What I used to deal with back at Zouk was more music- based. Here, there are four pillars, which are music, food, beverage and art.
We are into our fifth month and our dining has been quite stable; most of our meal services are filled out nicely; the menu direction is quite clear. We’ve been quite successful at stabilising that.
A lot more can be done about pushing out house and techno music that we believe in and getting it out there. Which is if you look at our programming, we have a couple of international DJs coming in. They are aligned to the kind of sounds that we’re doing and we want to do more collaborations with local music collectives. Building the local scene is quite important.
Back at Jiak Kim Street, the art was a little more intense, right? Lincoln [Cheng, founder of Zouk] had all these wild pieces like Keith Haring’s “Healing Hand” but when the club moved to Clarke Quay, there were space constraints so art wasn’t the main focus. But at HighHouse, my bosses are quite keen to get some relevant pieces on the ample wall space.
ESQ: Are you art savvy?
WL: I go to art fairs, I visit museums overseas. I wouldn’t say that I’m an art connoisseur but I do enjoy the medium.
ESQ: So, what’s the idea behind NOVA?
WL: We were inspired by festivals, right? Not just music festivals but festivals in general. That was a big inspiration for the space. Coachella, for example, some of the stages themselves are built around large installations. Burning Man [culminates in setting fire to a giant effigy]. Which explains the [10-metre] star structure at NOVA. We commissioned this artist Jun Ong from Penang—we saw his work at ART SG about two years ago. He’s great at installations, basically lighting installations.
ESQ: We heard the opening of NOVA was delayed.
WL: We are reworking the interior design to make it more futuristic. We were done but felt that it didn’t really measure up to the branding yet. I feel that once NOVA opens up, everything will fall into place; there’d be more opportunities for activities like yoga, your fitness stuff.
ESQ: You had started at the magazine, Juice.
WL: Back then the [Juice] office was at Scotts Road and that was one of the reasons why I wanted to work there. I was freelancing for them. Being quite keen to continue working for Juice, I took up a full-time position after I graduated.
I was very into electronic music, which helped. I was studying journalism in Melbourne and their rave culture was quite strong and that inspired me. So, when I returned to Singapore and there was quite an interesting underground electronic music scene between 2001 and 2004. This was the period where the government was more lax on people using venues and the neighbours weren’t complaining so much about the noise. I’d write about the scene. The process was so old school that I’d take pictures with this crappy DSLR and develop the photos.
ESQ: You had to shoot as well?
WL: Yeah, I took photos and wrote the reviews when I first started. I had to develop the film at Lucky Plaza. I remember that I had to pick five photos out of the 26.
That was what got me into Juice, the love of electronic music. Not so much the clubbing and partying—those were a byproduct. Juice started to change at that point because we needed the ad revenue, right? We were a free magazine and we needed to attract more advertisers. So we moved into the fashion space but we were not fashion people. The one thing that we could tap on was that the rave culture was connected to streetwear. We brought that element in. Me and the team were inspired by Japanese men’s magazines like Popeye. We had to go to Kinokuniya and buy it along with i-D and Dazed and Confused. That was quite a good time.
ESQ: How did you get to work at Zouk?
WL: It’s really a combination of circumstances. Because I worked at Juice, I was in close contact with Zouk’s marketing team and Lincoln as well. When they opened up a head of entertainment role, sort of a music director gig, in 2011, I was the first person they thought of and they approached me for it. I had been nine years in music publishing at the time, so I thought, since I’m already doing the theory portion of it, I might as well do the practical. That’s how I got to work for Zouk.
ESQ: What’s an average day for you at HighHouse?
WL: The office starts early. And meetings take up a large part of my afternoon all the way to about dinnertime. Then, from dinnertime onwards, I try to be on the ground [at HighHouse] just to make sure service is in order; to make sure our guests are settling in nicely. On certain nights—obviously, we do some late-night programming on Wednesday, Friday or Saturdays—I try to stay late. Again, just to see how things are going. Letting my presence be felt, I guess [laughs].
ESQ: This goes beyond your typical nine-to-five. Are the hours something that you took to easily?
WL: I came on board with OUE Restaurants in 2022 so I spent a good year-and-a-half being in a regular office working regular office hours; I enjoyed it. So now I’m back to those long, weird hours, but I’m used to it, because back at Zouk, it was the same thing, right? Daytime, I’d handle the corporate stuff and at night, I’d handle the nightlife.
ESQ: But is it easier now or harder?
WL: Harder. Back at Zouk, in my 30s, it was easier. It was also different because that environment had more high energy. We had a club that hosted 1,500, 2,000 people at any one time. That was intense. But now at HighHouse, the product is quite focused so we don’t have to bring in so many different demographics. We have a certain target audience and the music direction is clearer. The total capacity at HighHouse is about 400.
ESQ: Is social media important to what you do?
WL: I think it’s super important now, man. We’re always talking about Gen-Zs relating to TikTok and stuff. I was in Shanghai two months ago and... You know 小红书 [“Little Red Book” in Mandarin]? It’s big over there. I signed up for an account because I wanted to look for vintage shops in Shanghai but suddenly, I’m fed with other content like techwear, cycling...
So, yeah. social media is important. Especially when you’re running a business establishment, right? But, it’s important that you’re tapping onto the right platform. 小红 书started out as a place where people came to discover places of interest to go to but now it’s the equivalent of Instagram in China.
ESQ: China is ahead when it comes to connectivity.
WL: I’m really impressed by Shanghai. Everything is online for them. Lose your phone in China and you’re screwed.
ESQ: Do you think Singapore can get to that stage?
WL: It’s tough because we are not a super-huge city. We won’t get to where China is but what we have right now isn’t bad. Hopefully, Singapore will get there one day.
ESQ: What was your childhood like?
WL: It was good. I was quite blessed. Parents are mostly supportive. My dad was an engineer and my mom was a school English teacher. My dad was always urging me to take up mathematics, which I hated. And then I screwed up my A-Levels so badly that he gave up. But they gave me a very comfortable childhood, a good environment to grow up in.
ESQ: Are they still on your back about your life choices?
WL: My dad passed last year but he was ok with where I am today. My mom has, well, a lot to say, you know, because I’m still single so there’s that. If it happens, it happens, right?
ESQ: How was the pandemic for you?
WL: I don’t know about you guys but it was the worst. I mean, minus the pay cuts [at Zouk and the deaths] I think it was a reset button for a lot of people that I knew and a lot of efforts were taken to sustain the business.
ESQ: The pivots.
WL: Yeah. Back then, we put 50 bikes in the main room at Zouk and converted it into a spin cycle class. Capital [a whisky bar and cigar room] was turned into a restaurant. We even worked with Lazada to convert Phuture into a live-streaming studio... that lasted for a good three or four months before they decided to do their own studio. So that was challenging but it was nice. There was a sort of team spirit going on during the pivots. And I also enjoyed some normal hours, ending at 10:30pm instead of 4am, so that was quite nice.
ESQ: Was it worrying? Because, at the time, nobody knew when they could see the light at the end of the tunnel.
WL: It was frustrating because the first year when we pivoted, we thought by December 2020 it should be over, right? Everyone believed that myth that this was like SARS and the pandemic would soon be over. But it didn’t get better and then it got worse with the [COVID] variants popping up. We had to downsize the team quite a bit. It was painful to do but it had to be done.
That gave us a new thought process in how we run the business. If you look at Zouk, you see it is trying to expand overseas to Vegas, to Japan, by working towards F&B projects combined with nightlife concepts like fine dining with ultra lounges. Since COVID, operating solely on nightlife has shown its risks, hence diversification.
ESQ: What kind of manager are you?
WL: I think... I genuinely think I operate with empathy. I’m not the sort who goes like, “it’s my way or the highway”. I try to give the team a lot of room to run and grow in... but then again I am very blessed that to have quite an experienced team, both for the front and back of the house. Occasionally there will come a time to bring down the hammer, so I’ll do it. But as much as I can, I will try not to. I usually tell everyone that we are all adults, right?
ESQ: You also get to wear a suit and tie at HighHouse.
WL: [looks at his short-sleeved shirt and jeans] Yeah, sorry to let you down. [laughs]
ESQ: You don’t dress like that at Zouk.
WL: Because we operate a dining space, so out of respect for Steven, my manager, who is already in a blazer, I try to be in a suit and tie. It was a huge change from the Zouk days. Now I’m dressed up so that people can take me more seriously. [laughs]
ESQ: Any pet peeves?
WL: Sometimes people are not willing to change. It takes a while, of course. But, in our industry, change is the only constant; we always have to adapt and flip. When you are working with an older generation of managers and workers, it takes a while for them to be flexible. It’s frustrating but you still need to be patient to explain to them and get them on the same course.
ESQ: What’s your biggest fear?
WL: My biggest fear? That’s a really good one. So far all my work in Singapore has touched on culture, right? My fear is Singapore becoming stagnant culturally instead of moving forward. I’m talking about soft culture and things like that. Generally, things have been getting better. Singapore has always been a nation that’s built on finance, manufacturing and stuff like that. And obviously, what we call soft culture is super sub, right? Our generation did well but there are still purveyors pushing the scene in music, art, design, and stuff like that, and of course, aided by the government. Sometimes it helps, sometimes it doesn’t but I’m hoping the next generation can continue.
It has to be a generational effort. This generation sets the path and the next gen will come in and take it forward. Let’s talk about culture, right? Obviously, there are your Edison Chens, Shawn Yues, John Mayers, the Pharrells even. They have gone from being musicians to extend themselves into fashion, designing watches even. They have done their part. So the next generation has to take over. Tyler, the Creator, he’ll be the next wave, right? He’s going to be the next Pharrell.
Going back to your earlier question about what I’m afraid of is that: I know there are a lot of very good content creators on TikToks who are in their 20s. But can we name that many? Can we find another, for example, Tracy Phillips? I feel that it’s tough to find someone of that calibre. Maybe it’s because the scene is quite diluted as everybody is doing it so it’s hard to stand out.
ESQ: You struck me as someone who prefers to be behind the scenes.
WL: You’re right. I don’t go to events, I stay at the back of the room. Eleven years of the club scene and my social battery is at its lowest. But now with the OUE Sky project, HighHouse and NOVA, I do have to be at the forefront of things to help push the brand.
ESQ: Along with Lincoln and Tracy, your name pops up as one of the few architects of the way the club scene is.
WL: Thank you for saying that. I appreciate it. It’s nice that in the course of what I’ve done, at least, my efforts have amounted to something.
ESQ: What do you like to do in your free time?
WL: I used to skateboard when I was younger but I’ve stopped. I’m trying to get back to the board again. I [laughs] can’t do the ollies and stuff. Actually, I cleared one but these days, my risk appetite is a lot less. So I just cruise along East Coast Park. It’s that or running.
ESQ: Do you fear getting old?
WL: Definitely. I think it is on everyone’s mind but—and this is going to sound corny—it kind of pushes you to do more each day because you know time is limited.
ESQ: Was this a recent realisation?
WL: I’m 43 going 44 and I think when you hit your 40s, you tend to think a lot more about the time that’s left and how much more you can achieve. Sometimes I can’t believe I’m middle aged, but it is what it is so you have to make the best of it. [points to his tattoo] “Memento mori”. Remember that you’ll die so you’ll appreciate life. [laughs] This all sounds dark.
ESQ: What’s that one book you always go back to?
WL: One of my favourite authors is Paul Auster, who died recently...
ESQ: I love Auster’s metafiction.
WL: Power, right? He passed away a few days ago. Very sad. Lung cancer. [thinks for a while]. [Haruki] Murakami is another. I’d usually return to Kafka by the Shore.
ESQ: Was that an introduction to the rest of Murakami’s work?
WL: That would be Norwegian Wood. Another book would be JD Salinger, [The] Catcher in the Rye. These are the few books that I’d reread if I had the time.
ESQ: Do you have enough time to do so though?
WL: The funny thing is that if the book is on a Kindle, you don’t read it as much as when it was a paperback. But I still buy books on Kindle due to space constraints, right? And my concentration on a Kindle is so limited. Ten pages and I put the device down. When it comes to the tactility of it, paperbacks can’t be beat.
ESQ: I usually borrow from the library so the due date forces me to finish it.
WL: That’s amazing. And that brings me to this one habit that I feel all of us should adopt, and that is, before sleeping, instead of going through Instagram, we should read. It’s tempting to pick up the phone and scroll through our social media but I’m trying to return to flipping the pages in books.
This interview was edited for length and clarity.
Photography: Jaya Khidir
Art Direction: Joan Tai
Photography Assistants: Nowo Kasturi and Ng Kai Ming
I get it. The words "elevated" and "hawker" can be pretty eyeroll-worthy when combined. It's often synonymous with another lethal word combination: tourist trap. A mere say, SGD2 hike for any hawker staple would have most up in arms (colloquially: siao why this chicken rice so expensive), what more paying five times the price?
So let me play the devil's advocate. If a business in Singapore's cutthroat food industry has been around for over the last five decades, you would assume that they are doing something right. Because within these 53 years are two that had the world in a standstill. Meaning; patrons aren't foreigners only—they are discerning locals.
Surviving without tourists is impressive considering there's Chatterbox Café and Chatterbox Express thriving overseas. Besides global appeal though, the price point accounts for factors like space, service and ambience, which is painfully obvious to mention.
Now that the restaurant's interior has undergone a refresh too, it's perfect for bringing friends from abroad for a nice introductory meal, or the family on occasion. And what better occasion than the country's birthday.
Feel free to disagree, but boneless chicken makes a significant difference in the dining experience. Pretty sure that's the whole reason why nuggets were invented. Even my other favourite fancy chicken rice brand that rhymes with moon monkey does not incorporate that.
On top of the convenience, the meat is tender and juicy. They originate from plump, free-range chickens running around for 60 days after all. The result of slow steaming in aromatic stock is evident in the bite, and serving it chilled—the best way, you can't tell me otherwise—keeps all the flavour locked in.
For those obsessed with the value for money in true Singaporean fashion, know that the portion of meat essentially serves two. The usual suspects of dark soya sauce, ginger puree and chilli sauce also hit all the right notes with consistency. As testament, the chef behind the dish's recipe all those years ago is still working there to this day.
Ultimately, food is extremely subjective, but what can be spoken for is quality and service. Probably explains the star-studded wall of famous visitors, amongst whom is a former President who allegedly spends every anniversary there. While I still wouldn't pair my elevated hawker fare with wine, I'd say the coconut shake is pretty damn good, and enjoying all that in a beautifully modern space is what I'd spend SGD25 on every now and then.
9 August also marks the last day for a National Day five-course menu. From SGD75, diners will be treated to petite portions of Lemon Butter Prawn, Kueh Pie Tee, Chicken Satay and Bak Kut Teh; followed by Chilli Crab with Mantou and of course, that best-selling plate of Chicken Rice; before ending with the Signature Coconut Ice-Cream.
If you’ve done any exploring around Orchard recently, you may have noticed a striking building adorned with lush greenery and intriguing architecture tucked away along Claymore Road. What I fondly refer to as “that futuristic plant building” is formally known as Pan Pacific Orchard, a verdant hotel that recently opened its doors in June 2023. But we’re not here for the sights; cloaked away in the forest terrace of the building houses a hidden gem called Mosella.
A dimly lit hallway opens to a dramatic three-storey high area with floor-to-ceiling glass windows. Natural light flitters in, bathing the space in a welcoming hue. At the centre of the restaurant stands a giant mirrored monolith plastered with a layer of reflective glitter, amplifying the vibrant energy throughout.
Mosella takes you on a modern Mediterranean journey under the guidance of Executive Chef Pedro Samper. Think fresh vegetables, seafood, and of course, plenty of olive oil. The idea here is a delicate dance between experimentation and tradition, blending modern influences with time-honoured techniques.
To truly grasp Chef Samper's vision, try their Artichoke. This Mediterranean vegetable is transformed into a delightful textural contrast. Confiting renders it beautifully crisp, while the accompaniments—Iberico ham, Manchego cheese, and a cured egg yolk—add layers of richness and umami. Prefer a lighter start? The Burrata & Heirloom Tomatoes offers a refreshingly vibrant alternative. The ingredients used are so fresh I’m convinced they're harvesting herbs and vegetables from the greenery hanging around the hotel. Thankfully for us, this dish is also available as part of a budget-friendly three-course set lunch menu.
After you’ve had your palate tantalised by the starters, pick from three mains: Barramundi, a pan-seared sea bass, Aglio E Olio Mushroom Spaghetti, and my personal choice, Beef Tenderloin. Succulent, explosively juicy, and emboldened in flavour by a thyme jus. What more could one ask for in a steak?
Be sure to save room for dessert, though. You won't want to miss a dish that has held its place on the menu since its introduction, and for good reason. The Burnt Basque Cheesecake is Mosella’s signature dessert that feels like a hybrid between a souffle and a cheesecake. Pair it with an apple compote and house made vanilla ice cream, and you’ll understand why I warned to save space in advance.
If you’re looking to impress, the Cacao delivers just the right amount of showmanship. It features a 70 per cent Guanaja dark chocolate mousse and blood orange waffle that’s flambéed tableside with Cointreau, creating a dancing display of flames. A fitting way to cap off a meal of dramatics.
Mosella is located at Level 2, 10 Claymore Road, Singapore 229540
It all began when the Michelin brothers (great name for a video game spin-off, if any) created a small guide filled with practical information for travellers. It would detail info such as maps, tips on changing tyres, petrol station locations, and, delightfully for weary sojourners, a list of places to eat or stay overnight.
In 1920, they began selling the guide for seven francs. As the guide's popularity grew, the Michelin brothers hired a team of mystery diners—now known as restaurant inspectors—to anonymously review eateries. And that evolved into the Michelin Guide that we know of today.
So, this year. This year, the Micheline Guide Singapore celebrates its eighth edition and reveals notable updates: Meta earned two Michelin stars and four new restaurants received their first Michelin star.
The guide features a diverse range of top-rated restaurants, Bib Gourmand venues, Michelin-selected establishments as well as introducing Singapore's second Michelin Green Star.
Here is the list of restaurants that have recently joined the Michelin Selection.
Helmed by Chilean chefs Araya and Fernanda Guerrero, the couple previously operated a restaurant in China. Showcasing an eclectic mix of Chilean and Japanese ingredients, their dishes bring a South Pacific theme and are inspired by Araya’s experiences in Spain and Japan.
This restaurant showcases executive chef Masahiko Kawano’s culinary vision through an exquisite 10-course dinner menu. Kawano combines French and Japanese ingredients, elevating his creations with his mastery of French techniques. His meticulous attention to detail shines in the daily refinement of his duck consommé, demonstrating his commitment to perfection.
Just a stone’s throw from Singapore's major attractions, this dining experience by Chef Bjoern Alexander combines Italian cuisine with bold Asian influences. Enjoy watching what goes down in their open kitchen as well as the stunning views of Marina Bay Sands and the Esplanade. The signature dish—whole red prawn—features perfectly smoked, juicy crustacean paired with crispy prawn toast for a delightful contrast in textures.
Led by Singaporean chef-owner Malcolm Lee, Pangium offers an exquisite menu exploring the potential of Straits cuisine. Named after the Pangium plant—which gives us Buah Keluak, an essential ingredient in Peranakan cuisine—Pangium celebrates Lee's family heritage. Through meticulously crafted dishes, guests experience exceptional flavours that reflect generations of culinary tradition.
For something that's kinder to the wallet, consider exploring some of the hawkers recently added to the Michelin Guide:
Their kway teow mee bursts with wok hei, blending ribbon rice noodles, egg noodles, bean sprouts and scrambled eggs in their secret sauce. Toppings include either clams or a seafood medley of fish, squid, shrimp, and clams. Remember to bring cash, as it's the only payment method accepted.
Chinatown Complex Market & Food Centre, #02-173, 335 Smith Street, 050335, Singapore
Despite its name, fried carrot cake is actually made with radish and is not a dessert. It comes in two varieties: black, which offers a caramel-like sweetness, and white, which is savoury with an eggy flavour. For the best experience, try a combo of both varieties.
Albert Centre, #01-59, 270 Queen Street, 180270, Singapore
The second-generation owner continues to fry oyster cakes à la minute, just as her mother did in the 1960s. Though slightly darker than usual, the minced pork, oysters, prawns, and coriander remain soft and juicy beneath the crispy crust.
Maxwell Food Centre, #01-05, 1 Kadayanallur Street, 069184, Singapore
In addition to pork offal, the menu includes marinated pork trotter, kway chap, and bak kut teh. However, the standout dish is the noodle soup with pork liver and kidney, where the offal is perfectly cooked and the broth exudes rich herbal aromas.
Clementi 448 Food Centre, #01-26, 448 Clementi Ave 3, 120448, Singapore
Discover the full selection of the MICHELIN Guide Singapore 2024 on the official website and the MICHELIN Guide mobile app, available for iOS and Android.
For the past two years, this sister outlet to Wolfgang’s Steakhouse Singapore has catered primo cuts (100 percent USDA Prime beef) for their burgers and steaks. Now, the joint is shaking things up with a new menu for the weekend and the weekday. Crafted by Peter Zwiener now offers a weekday lunch menu (11:30am to 4pm) and a weekend special, where the USDA Prime Black Angus Ribeye will be available all. Day. Long. But we are getting ahead of ourselves. Here's what you can expect:
You have six dishes to opt from. These include three popular choices seamlessly transitioned from the restaurant’s takeaway lunch boxes. Also, each dish is accompanied with a daily cold-pressed juice.
You've the Huli Huli Chicken plate that includes a sweet smoky grilled boneless chicken leg paired with grilled pineapple, white rice and macaroni salad. The USDA Beef Bolognese Rigatoni boasts a Prime Black Angus ground beef and slatherd with tomato-based sauce. The Loco Moco has Prime Black Angus hamburg steak nestled over Japanese rice and topped with a sunny-side up egg. The Hokkaido Pork Belly Burnt Ends Plate is spice-marinated for 48 hours. You get a side of white rice, macaroni salad and Japanese Pickled Cucumbers. If you're looking for something lighter, there's a USDA Prime Rib Eye Steak Salad, a light yet satisfying salad that is served with honey mustard sauce on the side.
Crafted by Peter Zwiener got the vegetarians covered with a Mushroom Arrabbiata Rigatoni. This dish features White Button Mushrooms cooked in a savoury Arrabbiata sauce and served with Rigatoni Pasta.
As an added incentive, for those who are ordering to-go, if you bring your own takeaway containers and tumblers, you'll get SGD2 off for each ordered set. Not a bad deal—you get to save your wallet and the planet. This is only applicable for the weekday lunch menu.
Between Fridays to Sundays, the all-day USDA Prime Black Angus Ribeye (250gm) steps into the spotlight. Priced at SGD48++, you get premium cut of the ribeye and it's only available for dine-in. To further brighten up the plate, diners can pick from an array of side dishes at an additional cost. Side dishes include the Roasted Chat Potato; Mac ‘N’ Cheese; Grilled Datterino Tomato on vines; Steak or Sweet Potato Fries; Sautéed Mushrooms; Garden Salad and Grilled Jumbo Asparagus.
Crafted by Peter Zwiener has your midday and weekend hanger issues on the ropes. Other than their specialised menus, patrons can still order from the standard menus. The special weekday lunch and weekend menus won't be available on public holidays. Diners can reserve a table here.
Crafted by Peter Zwiener is located at 26 Beach Road, #B1-21, South Beach Avenue
There is this pervading sense that once you’ve had one omakase, you kinda had them all. I don’t speak for native Japanese, or self-proclaimed connoisseurs (ace a blind taste test and I’ll be convinced). It’s a sentiment observed and shared with the ground, and not necessarily a bad one.
After all, it is the epitome of premium Japanese produce expressed in time-honed tradition. Apart from seasonal offerings and rare creative deviance, the over thousand-year-old culinary craft is not liable to accommodate great change. As a consumer, neither would you want it to.
The gleeful anticipation of getting to sit down for one though, never fades. In bid to experience it all afresh once again, I invited my mother, frequent patron of sushi chains but rookie partaker of the higher art form, to join me on this adventure.
It’s no spoiler to reveal that the courses were served in pretty standard sequence. Your zensai, onmono, -insert number here- kinds of nigiri, etc. As expected, you can’t fault the cuts that come your way. It was almost déjà vu seeing a newcomer’s reaction to seared kinmedai exactly mirror mine years ago—sheer delight.
If anything, you’ll discover that each omakase takes its distinct style after the chef whom the restaurant bears its name. At risk of sounding like a painfully obvious statement, supplement it with this. Not only do chefs display skill taught by the particular regions they understudied at, all those years of influences both inside and outside the kitchen forms the type of menu they envision best to share with their guests.
Or as my life-giver so profoundly articulates, “It’s not like the sushi sushi.”
It’s always fun to be reintroduced to familiar dishes prepared in a different way. While not squeamish, my first acquaintance with shirako i.e. fish semen was less than impressive. Here at Suzuki, lightly scorched and bedded with spinach sauce, its texture was able to shine with the flavours.
Another unique dish was Chef Suzuki’s signature palate cleanser. Perhaps stemming from common childhood indoctrination to “eat your greens” or a personal penchant for a healthy diet, the unconventional maki of shiso and wasabi leaves with white radish wrapped in nori was simple and brilliant.
The Shizuoka-born chef, who moved to Kyoto at the age of 18 to train at three Michelin-starred Kikunoi, inherited a respect for simplicity from its owner and head chef. Lessons on focusing on the original character of ingredients and keeping seasonings to a minimum are principles he carried through his career up till the most recent stint as head chef at Ishi, InterContinental Singapore Robertson Quay.
Reflecting this regard for purity are the interiors. As you may be familiar, most of these esteemed establishments come in an intimate setting. It’s no different at Suzuki, save the thoughtful designs by renowned Tokyo-based architect Kengo Kuma, whose work here marks his debut in a commercial project in Singapore.
Daylight filtered through Kyoto bamboo weaved along the full-height glass allow for a relaxed seating than an otherwise dark and intimidating environment. This is matched with a petite courtyard garden centering the restaurant, complete with faux skylight overhead, which was a surprise to learn given how natural it looked.
The fountain within is made from a solid piece of Nagano stone, and the pebbles surrounding the kakehi water feature are collected from Gifu, allegedly millions of years old. The largest however, would be the 600kg ancient plinth from the same region that serves as the reception desk you see at the entrance. Statement piece indeed.
Of the private rooms encountered thus far, the one here is certainly a choice. As the chef’s backdrop from where guests face, bottom panelled glass discloses an odd, below-the-knee peek at diners inside. Hello, foot fetish. Still, the half scrim is made of washi paper, and every single piece of furnishing in the restaurant is either bespoke or handmade.
Cloth napkins embroidered in hiragana by celebrated Kyoto-based calligrapher Tomoko Kawao. Antique soup bowls and classic modern birch chairs Kuma first created for Tokyo’s Nezu Museum café. All these curated touchpoints together with quality Japanese cuisine make a nice rendezvous that any beginner can appreciate.
Suzuki is located at 83 Neil Road, #01-09 Mondrian Hotel Singapore.
